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The Speed of the VCR
Edinburgh Research Explorer The speed of the VCR Citation for published version: Davis, G 2018, 'The speed of the VCR: Ti West's slow horror', Screen, vol. 59, no. 1, pp. 41-58. https://doi.org/10.1093/screen/hjy003 Digital Object Identifier (DOI): 10.1093/screen/hjy003 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Screen Publisher Rights Statement: This is a pre-copyedited, author-produced PDF of an article accepted for publication in Screen following peer review. The version of record Glyn Davis; The speed of the VCR: Ti West’s slow horror, Screen, Volume 59, Issue 1, 1 March 2018, Pages 41–58 is available online at: https://doi.org/10.1093/screen/hjy003. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 The speed of the VCR: Ti West’s slow horror GLYN DAVIS In Ti West’s horror film The House of the Devil (2009), Samantha (Jocelin Donahue), a college student short of cash, takes on a babysitting job. -
2012 SUNDANCE FILM FESTIVAL ANNOUNCES FILMS in SPOTLIGHT, PARK CITY at MIDNIGHT, NEXT <=> and NEW FRONTIER
FOR IMMEDIATE RELEASE Media Contacts: December 1, 2011 Sarah Eaton 310.360.1981 [email protected] Casey De La Rosa 310.360.1981 [email protected] 2012 SUNDANCE FILM FESTIVAL ANNOUNCES FILMS IN SPOTLIGHT, PARK CITY AT MIDNIGHT, NEXT <=> AND NEW FRONTIER Park City, UT — Sundance Institute announced today the films selected to screen in the 2012 Sundance Film Festival out-of-competition sections Spotlight, Park City at Midnight, NEXT <=> and New Frontier. The Festival takes place from January 19 through 29 in Park City, Salt Lake City, Ogden and Sundance, Utah. The complete list of films is available at www.sundance.org/festival. Trevor Groth, Director of Programming for the Sundance Film Festival, said, “In many ways, the extremes of the Festival’s program are most readily apparent in our out-of-competition sections, which showcase the wildest comedies, the most terrifying horror films and uncompromised visions from singular voices springing up from around the country and the world. We hope audiences experiment with their film selections to an equal degree as these filmmakers have experimented with their storytelling.” SPOTLIGHT Regardless of where these films have played throughout the world, the Spotlight program is a tribute to the cinema we love. Corpo Celeste / Italy (Director and screenwriter: Alice Rohrwacher) — After moving back to southern Italy with her mother and older sister, 13-year-old Marta struggles to find her place, restlessly testing the boundaries of an unfamiliar city and the catechism of the Catholic church. Cast: Yle Vianello, Salvatore Cantalupo, Anita Caprioli, Renato Carpentiere. Declaration Of War / France (Director: Valérie Donzelli, Screenwriters: Jérémie Elkaïm, Valérie Donzelli) — A young couple embark upon a painful, enlightening journey when they discover that their newborn child is very ill. -
JEFFREY A. PITTS Supervising Sound Editor, Sound Designer
JEFFREY A. PITTS Supervising Sound Editor, Sound Designer LET IT SNOW Luke Snellin Netflix SE GRUDGE Nicolas Pesce Sony SD CORPORATE ANIMALS Patrick Brice Pacific Electric Picture Co SD, SSE INNOCENT MAN Clay Tweel Netflix SSE WAYNE SHORTER: ZERO Dorsay Alvi Brave World Pictures SSE GRAVITY TAG Jeff Tomsic Warner Bros. SE THE AMENDMENT Paul Brown Blue Forrest Entertainment SD BLINDSPOTTING Carlos López Estrada Lionsgate SD DEATH NOTE Adam Wingard Netflix SSE BLAIR WITCH Adam Wingard Lionsgate SD THE UNRAVELING Thomas Jakobsen One Eyed Films SD FAULTS Riley Stearns Snoot Entertainment SSE CAMP X-RAY Peter Sattler GNK Productions SD THE ANGRIEST MAN IN Phil Alden Robinson AMIB Productions SSE BROOKLYN MUPPETS MOST WANTED James Bobin DisneyToon Studios SSE BETTER LIVING THROUGH Geoff Moore, David Occupant Entertainment SD CHEMISTRY Posamentier RIDE ALONG Tim Story Universal SE THE GUEST Adam Wingard HanWay Films SE BIG SUR Director Michael Polish Ketchup Entertainment SD A BELFAST STORY Nathan Todd Atlas Entertainment SE JOBS Joshua Michael Stern Open Road Films SE GROWN UPS 2 Dennis Dugan Columbia Pictures SE ATLAS SHRUGGED 2: THE STRIKE John Putch Spotlight Pictures SSE PITCH PERFECT Jason Moore Universal SE HIT AND RUN David Palmer, Dax Shepard Open Road Films SSE SHOULD'VE BEEN ROMEO Marc Bennett Phillybrook Films SE YOU'RE NEXT Adam Wingard Lionsgate SSE Formosa Features www.FormosaGroup.com/Features 323.850.2800 [email protected] Page 1 SEVEN DAYS IN UTOPIA Matt Russell Prospect Park SD THE ROCK 'N' ROLL DREAMS OF Justin S. Monroe -
Supernatural Folklore in the Blair Witch Films: New Project, New Proof
129 Supernatural Folklore in the Blair Witch Films: New Project, New Proof Peter Turner (Oxford Brookes University) Found footage horror films can be significant examples of folk horror, juxtaposing modern technology with its capture of ancient monsters of folklore. These films frequently combine contemporary anxieties over digital technology (Blake and Aldana Reyes 2016) with more archaic fears such as witches, trolls and demons. Both The Blair Witch Project (Daniel Myrick and Eduardo Sánchez, 1999) and its second sequel Blair Witch (Adam Wingard, 2016) dramatise the search for proof of supernatural occurrences. Adam Scovell notes that the narrative of The Blair Witch Project ‘is quintessential Folk Horror through its use of rurality’. The film ‘basks in its rural/urban divide, where the naive students have completely underestimated both the landscape and the power of its folklore’ (2017: 117). The characters in these films are at once sceptical of the existence of a historical witch haunting the area and yet also open-minded enough to take their modern camera technology and try to capture evidence of a supernatural phenomenon—one rooted in the local folklore of Maryland’s woods. Developments in camera technology in the years between the production of The Blair Witch Project and Blair Witch complicate the capturing of proof, and I argue that this leads to different responses from viewers of the two films. While The Blair Witch Project and Blair Witch share many similarities in their representation of proof, there are notable differences regarding the diegetic technology that the characters have at their disposal. After exploring how an impression of authenticity is created in both films through a modern digital camera aesthetics that has substantively changed in the seventeen years between the release of these two films, I then examine how the folklore established in The Blair Witch Project is developed in the distinctive aesthetics of the 2016 sequel. -
PRESS NOTES March 2019
PRESS NOTES March 2019 INFORMION 114 Minutes Ratio: 2:35 color Red Dragon DCP • AUDIO: 5.1 PRESS Emma Griffiths [email protected] PRODUCERS Larry Fessenden [email protected] Chadd Harbold [email protected] Jenn Wexler [email protected] PRINT TRAFFIC GLASS EYE PIX 172 East 4th Street #5F New York, NY 10009 WEBSITES A film by Larry Fessenden glasseyepix.com depravedfilm.com GLASS EYE PIX & FORAGER FILM COMPANY present DAVID CALL JOSHUA LEONARD and ALEX BREAUX "DEPRAVED" ANA KAYNE MARIA DIZZIA CHLOË LEVINE OWEN CampBELL and ADDISON TIMLIN cinematography CHRIS SKOTCHDOPOLE James SIEWERT production design APRIL LASKY costume design SARA ELISABETH LOTT makeup effects GERNER & SPEARS EFFECTS visual effects james SIEWERT music WILL bates sound design JOHN MOROS mix TOM EFINGER executive producers JOE SWANBERG EDWIN LINKER PETER GILBERT co-executive producerS andrew MER SIG DE MIGUEL STEPHEN VINCENT co-producer LIZZ ASTOR producers CHADD HARBOLD JENN WEXLER writer director editor producer LARRY FESSENDEN (c) 2019 DEPRAVED PRODUCTIONS INC. ALL RIGHTS RESERVED. A Glass Eye Pix COSTUME Lucy Double POST PICTURE "depRAVEd" Forager Film Company assistant costume designer ASHLEY MORGAN BLOOM Finishing Written and Performed by production ARIS BORDO Polidori Double CONTACT POST UNWANTED HOUSEGUEST wardrobe supervisor COLIN VAN WYE colorist publisher Tavistock Records CREW ALANNA GOODMAN Child Singers BLASE THEODORE BELLA MAGGIO "Wheels on the Bus" writer director editor Uniforms Edit and Online Facilities LARRY FESSENDEN KAUFMAN’S ARMY & NAVY JOEY MAGGIO THE STATION Performed by NIA AMALIA MOROS UNWANTED HOUSEGUEST producers additional animation LARRY FESSENDEN MAKEUP TV Voices BEN DUFF JAMES LE GROS "Pleasant Street" CHADD HARBOLD hair and makeup dept. -
Fangoria 345(2015)
IT'S ALIVE—AND IT'S ANGRY! CANADA U.S.& $11.99 Hus: JERUZALEM • Larry Fessenden • Fabio Frizzi • Clu Gulager www.fangoria.com Wrestling HoiTor • THE HALLOW • CONDEMNED • Much more! NOW IN THEATERS f- & ON DEMAND CONTRACTED itHORROR PHASE 2 IN THEATERS & [ NOW ON DEMAND I DEMANOffc’^ . I 11/20 LEARN BY DOING. sFACTORY Digital Filmmaking Program at Douglas DOUGLASEducation Center 1 30 Seventh Street • Monessen, PA 1 5062 Financial aid is available to those who qualify. For more information about graduation rates, median debt of students who completed the program, and consumer information, please visit www.dec.edu/df Housing is available through Boss Development, Inc. DEC.EDU 1.800.413.6013 THIS SCHOOL IS AUTHORIZED UNDER FEDERAL LAWTO ENROLL NONIMMIGRANT ALIEN STUDENTS. 1 6 PREVIEW: “KRAMPUS” The “anti-Claus” gets the major movie vehicle he’s long deserved, thanks to 54 ON SET: “THE HALLOW” Irish forest dwellers are director Michael Dougherty. no longer confined to legend in Corin Hardy’s mythological chiller. 20 PREVIEW: “JERUZALEM” Israeli filmmaking brothers Doron and Yoev Paz spread unholy evil 58 DN SET: “CHARLIE’S FARM” Do you dare join us across sacred ground. to trespass on the grounds of Chris Sun’s huge, savage psychopath? 22 ONSET: “CONDEMNED” 64 INTERVIEW: CLU GULAGER From “Return of the In Eli Morgan Living Dead” to “Feast,” something’s always been Gesner’s infection eating at the veteran actor. opus, catching the murderous rage 68 FEATURE: “MEXICD BARBARD” Director/producer doesn’t mean Lex Drtega et al. are seeing their ambitious anthology you lose your head north of the border. -
An Investigation of Priming, Self-Consciousness, and Allegiance in the Diegetic Camera Horror Film
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Oxford Brookes University: RADAR An investigation of priming, self-consciousness, and allegiance in the diegetic camera horror film by Peter Turner A thesis submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy by Oxford Brookes University Submitted June 2017 Statement of originality Some of the discussion of The Blair Witch Project throughout this thesis has formed the basis for a book, Devil’s Advocates: The Blair Witch Project (Auteur, 2014). Some of the discussion of priming in chapter four was also used in a conference paper, Behind the Camera: Priming the Spectator of Found Footage Horror, delivered at The Society for Cognitive Studies of the Moving Image in 2015. Sections on personal imagining also formed the basis of a conference paper, Personal Imagining and the Point-of-View Shot in Diegetic Camera Horror Films, delivered at The Society for Cognitive Studies of the Moving Image in 2017. Finally, significant amounts of Chapter 3 and Chapter 5 will be featured in two chapters of an upcoming edited collection on found footage horror films with the working title [Rec] Terror: Essays on Found Footage Horror Films. i Abstract The main research question underpinning this study asks why and how the diegetic camera technique has become so popular to both contemporary horror filmmakers and audiences. In order to answer this question, this thesis adopts a mainly cognitive theoretical framework in order to address the mental schemata and processes that are elicited and triggered by these films. -
ALL the LIGHT in the SKY a Film by JOE SWANBERG
ALL THE LIGHT IN THE SKY A Film by JOE SWANBERG WORLD PREMIERE AT THE 2012 AFI FILM FESTIVAL 79 MINUTES – HD COLOR – ENGLISH – NOT RATED FESTIVAL & SALES CONTACT Joe Swanberg +1 312.404.7164 [email protected] www.joeswanberg.com For images please visit: http://www.joeswanberg.com/allthelight SYNOPSIS Marie (Jane Adams) is a well-respected actress in her mid-40s. She enjoys the freedom that life without a husband or children provides, but she's unsure where to focus her energy as her acting work slows. She is researching the role of a solar engineer and fretting over the future of the planet when a visit from her 25- year-old niece, also an actress, forces her to reflect on aging in Hollywood and her relationships with men. CAST AND CREW BIOGRAPHIES JOE SWANBERG – WRITER / DIRECTOR / PRODUCER / EDITOR Joe Swanberg (b. 1981) has directed many feature films, including HANNAH TAKES THE STAIRS (2007), ALEXANDER THE LAST (2009) and UNCLE KENT (2011). His films have premiered at Sundance, Berlin and the SXSW Film Festival. He also directed and starred in the web series YOUNG AMERICAN BODIES, for IFC.com, which he produced with his wife, Kris. Swanberg studied film production at Southern Illinois University where he developed an interest in emerging video technology and a crippling addiction to the Internet. JANE ADAMS Jane Adams is one of today's most versatile actresses, displaying her immense talent working in film, television and on stage. She was most recently nominated for a Golden Globe for her role in HBO's critically acclaimed series, HUNG. -
Literariness.Org-Barbara-Gurr-Eds.-Race-Gender-And-Sexuality-In-Post-Apocalyptic-TV-And
Race, Gender, and Sexuality in Post-Apocalyptic TV and Film Also by Barbara Gurr Reproductive Justice: The Politics of Healthcare for Native American Women Race, Gender, and Sexuality in Post-Apocalyptic TV and Film Edited by Barbara Gurr RACE, GENDER, AND SEXUALITY IN POST-APOCALYPTIC TV AND FILM Selection and editorial content © Barbara Gurr 2015 Individual chapters © their respective contributors 2015 Softcover reprint of the hardcover 1st edition 2015 978-1-137-50150-9 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission. In accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 2015 by PALGRAVE MACMILLAN The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire, RG21 6XS. Palgrave Macmillan in the US is a division of Nature America, Inc., One New York Plaza, Suite 4500, New York, NY 10004-1562. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. -
LIONS GATE ENTERTAINMENT CORP. (Exact Name of Registrant As Specified in Its Charter)
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K (Mark One) ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 31, 2012 or TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File No.: 1-14880 LIONS GATE ENTERTAINMENT CORP. (Exact name of registrant as specified in its charter) British Columbia, Canada N/A (State or Other Jurisdiction of (I.R.S. Employer Incorporation or Organization) Identification No.) 1055 West Hastings Street, Suite 2200 2700 Colorado Avenue, Suite 200 Vancouver, British Columbia V6E 2E9 Santa Monica, California 90404 (877) 848-3866 (310) 449-9200 (Address of Principal Executive Offices, Zip Code) Registrant’s telephone number, including area code: (877) 848-3866 Securities registered pursuant to Section 12(b) of the Act: Title of Each Class Name of Each Exchange on Which Registered Common Shares, without par value New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None ___________________________________________________________ Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Securities Exchange Act of 1934. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or Section 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
CATÁLOGO CATALOGUE Coordenação Editorial Publishing Coordination
13 MOSTRA MUNDIAL WORLD CINEMA 41 MÚSICA DO UNDERGROUND UNDERGROUND MUSIC 57 RETROSPECTIVA BÉLA TARR RETROSPECTIVE BÉLA TARR 79 RETROSPECTIVA CLAIRE DENIS RETROSPECTIVE CLAIRE DENIS CINESESC | CINE OLIDO INDIE 11 | POR UM CINEMA INQUIETO INDIE 11 | FOR A RESTLESS CINEMA Se considerarmos que o cinema é um exercício de criação por meio do mento é limitado, não os recur- If we consider the cinema an exercise of creation which enables us to construct such cinema tends to make aesthetic qual construímos realidades próximas às vividas ou imaginadas, nos sos. Com liberdade sutil, esse realities similar to the ones lived or imagined, by presenting ourselves with the choices that show us what is invis- colocando numa tarefa lúdica de desvendar suas camadas, é fatal per- cinema tende a fazer escolhas playful task of unraveling its layers, it is inevitable to realize how this is such a ible or imperceptible in our realities, ceber o quanto essa arte é complexa e dispendiosa. estéticas que mostram aquilo complex and expensive art. which, in turn, are always too hectic to que é invisível ou imperceptível let us see what they are made of. A nós espectadores, é posta a escolha de uma narrativa, decorrem inte- em nossas realidades atribula- To us, viewers, is given the choice of a narrative from which interactions between rações entre a linguagem visual e sonora; de repente, surgem tempos, das demais para que perceba- the audible and visual language take place; suddenly, there comes times, places In this edition, all these character- lugares e as pessoas em suas escolhas. -
Festival Guide 01 VENUE the Plaza Theatre (1133 Kensington Rd NW)
Festival Guide 01 www.calgaryundergroundfilm.com VENUE The Plaza Theatre (1133 Kensington Rd NW) www.theplaza.ca TICKETS $10 Regular Screenings $9 CJSW Members $8 CUFF Members, Students & Seniors $40 Punch Card (5 films) Lunch time! $100 Festival Pass (All films except Burlesque Assassins Fundraiser) Tickets available at the door. Come enjoy Advance tickets online or at Frosst Books (1018 – 9 Avenue SE). All evening screenings are licensed 18+ which means you Local’s new can drink beer during the film (!) but... no minors. menu today. Matinees are all ages. ........................... PARKING SPECIAL $2 evening & weekend rate at the VINCI Park parkade (100 - 10A Street NW - East of The Plaza next to Bernard Callebaut Chocolates). PARTIES Monday, April 11, 9:00 PM HILLBILLY BASH AFTER PARTY Molly Malone’s, 1153 Kensington Crescent NW Come join us for a party following Tucker & Dale Vs. Evil with drinks, food and good times! Director Eli Craig, cast and crew in attendance at both the screening and the after party. Thursday, April 14, 6:15 PM SHOW UP & SHIP OUT WITH THE SHIP & ANCHOR Ship & Anchor, 534 17th Avenue SW $20 (tickets available only at The Ship) Bus leaves from The Ship for The Plaza Theatre to see the movie Everyday Sunshine (P. 14) at 6:15 PM sharp & returns after the movie for a FREE drink & guaranteed entrance to the FISHBONE CONCERT! The full band will be in attendance for a Q&A after the screening. Sunday, April 17, 9:00 PM 48-HOUR MOVIE MAKING CHALLENGE AFTER PARTY Molly Malone’s, 1153 Kensington Crescent NW Please join